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20 Mark 1993, Germany

in Krause book Number: 39b
Years of issue: 01.10.1993
Edition: --
Signatures: Bundesbank Präsident: Hans Tietmeyer (1993-1999), Vizepräsident: Johann Wilhelm Gaddum (1993-1998)
Serie: Fourth Series
Specimen of: 01.08.1991
Material: Cotton fiber
Size (mm): 138 х 68
Printer: Bundesdruckerei GmbH, Berlin

* All pictures marked magnify are increased partially by magnifying glass, the remaining open in full size by clicking on the image.

** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.

20 Mark 1993

Description

Watermark:

watermark

The portrait of Annette von Droste-Hülshoff. Made in 1820 by German painter Wilhelm Stiehl.

Avers:

20 Mark 1993

Annette von Droste-HülshoffThe engraving on banknote is made after the portrait of Annette von Droste-Hülshoff (mirror view). Made in 1820 by German painter Wilhelm Stiehl. Today it belongs to the museum of Annette von Droste-Hülshoff - "Princely House" ("Fürstenhäusle") in Meersburg, where she lived long time till her death.

Anna Elisabeth Franziska Adolphine Wilhelmine Louise Maria, Freiin von Droste zu Hülshoff, known as Annette von Droste-Hülshoff (January 10 or 12 1797 – May 24, 1848), was a XIX-century German writer and composer. She was one of the most important German poets and author of the novella "Die Judenbuche".

Annette von Droste-Hülshoff was born at the castle of Burg Hülshoff (now a part of Havixbeck) in the Prince-Bishopric of Münster. Her family, the Barons Droste zu Hülshoff belongs to the old Catholic aristocracy of Westphalia. Her father Clemens August von Droste zu Hülshoff (1760-1826) was a learned man who was interested in ancient history and languages, ornithology, botany, music and the supernatural. Her mother Therese Luise (1772-1853) came from another aristocratic Westphalian family, the Barons von Haxthausen. Annette was the second of four children: she had an elder sister Maria Anna (nicknamed "Jenny", 1795-1859) and two younger brothers, Werner Konstantin (1798-1867) and Ferdinand (1800-1829). Annette was born one month prematurely and only saved by the intervention of a nurse. She suffered from problems with her health throughout her life, including headaches and eye troubles.

Droste was educated by private tutors in ancient languages, French, natural history, mathematics and music (she inherited considerable musical talent from her father). She began to write as a child; 50 poems written between 1804 and 1814 have been preserved. Droste's maternal grandfather Werner Adolf von Haxthausen had remarried after the death of his first wife (Annette's grandmother) in 1772 and built himself a new castle, Schloss Bökerhof, in the village of Bökendorf, Paderborn. Here his sons from his second marriage, Werner and August, had formed an intellectual circle. They were in contact with such celebrated cultural figures as the Brothers Grimm, Clemens Brentano, Friedrich Schlegel Adele and Johanna Schopenhauer. Droste visited the castle frequently and made the acquaintance of Wilhelm Grimm. She and her sister contributed folk tales from Westphalia to the Grimms' famous collection of fairy stories. However, neither Grimm nor her step-uncles gave any encouragement to the young girl's literary ambitions. The only literary figure to recognise Droste's precocious talent was Anton Matthias Sprickmann (1749-1833), whom she first met in 1812. Sprickmann was the founder of the theatre in Münster and had known important 18th-century poets such as Matthias Claudius and Friedrich Gottlieb Klopstock. Droste trusted Sprickmann's judgement and showed him many of her early works, including the unfinished tragedy Berta oder die Alpen ("Berta, or The Alps", 1813). Other examples of her juvenilia are the tale in verse Walter (1818) and a novel Ledwina (begun in 1819 but never completed).

In 1819-1820, Droste spent a year with the Haxthausens at Bökerhof, interrupted only by a stay at the nearby spa town of Bad Driburg, where she hoped to find a cure for her health problems. Here she became romantically involved with Heinrich Straube (1794-1847), a law student with literary interests, who was a friend of her step-uncle August. What happened next is unclear, but it appears that some members of the Haxthausen family, led by Annette's step-aunt Anna (who was in fact four years her junior), disapproved of the relationship because Straube was a middle-class Protestant, and they devised a scheme to put an end to it. While Straube was away pursuing his legal studies at the University of Göttingen, they persuaded another young man with literary ambitions, August von Arnswaldt, who came from an upper-class Protestant family, to pretend to pay court to Annette. At first flattered by Arnswaldt's attentions, she gave some indications she was in love with him, before telling him she really loved Straube. By this time it was too late, however, as Arnswaldt had all the evidence he needed. He travelled to Göttingen and told Straube of Annette's behaviour. The two men wrote a joint letter (which has not been preserved), breaking off all contact with her. She never saw either man again. A few years later, Arnswaldt married Anna von Haxthausen, the ringleader of the intrigue. Straube became a lawyer in Kassel and married in 1824. When he died in 1847, a lock of Droste's hair was found among his possessions. The affair was a catastrophe for Droste and damaged her future marriage prospects. Shocked by the role the Haxthausens had played in the intrigue, she refused to visit Bökerhof for the next 18 years.

Droste's earliest poems are derivative and conventional but in 1820 her work began to show marked originality when she embarked on a cycle of religious poems, Das geistliche Jahr ("The Spiritual Year"). Droste intended to write one poem for each Sunday and Feast Day of the church year and the cycle was meant to please her devout grandmother, but when Droste had completed 25 poems, she realised they were too personal and showed too many traces of spiritual doubt, so she shelved the work until 1839 when a friend persuaded her to complete the series. Even then she did not publish the poems and they were only offered to the public posthumously in 1851.

When her father died in 1826 she moved with her mother and sister to a small country house near Hülshoff called Rüschhaus. Here she led a constricted, monotonous existence, broken only by a few trips to the Rhine and Bonn. She composed poetry, but not prolifically. In 1834 her sister Jenny married Joseph von Laßberg, a specialist in medieval German poetry. The following summer, Annette and her mother travelled to Laßberg's castle Eppishausen in the Swiss Alps. She was inspired by the scenery and on friendly terms with Laßberg, but neither he nor his friends appreciated modern literature and Droste's hopes that they might help her to publish her work came to nothing.

Droste now entrusted the publication of her first book to two friends, Christoph Bernhard Schlüter and Wilhelm Junkmann. They had little experience of the literary world and chose the local Münster publisher Aschendorff. Droste would have preferred a non-regional publisher rather than a Westphalian one as Westphalia had a reputation as a cultural backwater and few people bought books there. The collection appeared in 1838 in a print-run of 500 copies, of which only 74 were sold. It contained three long narrative poems (Das Hospiz auf dem großem Saint-Bernard, Das Vermächtnis des Arztes and Die Schlacht in Loener Bruch) and a handful of lyrics. Although they were issued under the name "Annette Elisabeth von D.H.", her family did not approve. Droste found the failure of her book "humiliating."

On background are:

Láurus nóbilisThe branch of Laurus nobilis.

Laurus nobilis is an aromatic evergreen tree or large shrub with green, glossy leaves, native to the Mediterranean region. It is one of the plants used for bay leaf seasoning in cooking. It is known as bay laurel, sweet bay, bay tree (esp. United Kingdom), true laurel, Grecian laurel, laurel tree or simply laurel. Laurus nobilis figures prominently in classical Greek, Roman, and Biblical culture.

Worldwide, many other kinds of plants in diverse families are also called "bay" or "laurel", generally due to similarity of foliage or aroma to Laurus nobilis, and the full name is used for the California bay laurel (Umbellularia), also in the family Lauraceae.

MeersburgOn background is historical view at Meersburg.

More exactly we can see: The market square with Upper gate and the Hotel "zum Bären" (Marktplatz mit Obertor und Gasthaus "zum Bären"). The view was taken from south side.

Meersburg is a town of Baden-Württemberg in the southwest of Germany at Lake Constance.

It is famous for its charming medieval city. The lower town ("Unterstadt") and upper town ("Oberstadt") are reserved for pedestrians only and connected by two stairways and a steep street ("Steigstrasse").

The town is home to two castles, the Old Castle and the New Castle. The Old Castle, built by Merovingian King Dagobert I in the VII century, accepts visitors. A self-guided tour is available. German poet Annette von Droste-Hülshoff lived there for eight years. The New Castle was built in the 18th century. Originally the residence of the Bishop of Constance, it was used for various purposes after the Secularization of 1803. It is now a museum.

There is an entity of Half-timber houses.

Also two medieval town-gates can be seen, which are the remainders of the fortification.

HintergrundmusterOn banknote's background are the feathers to write.

Lower, left, are the Braille symbols for visually impaired.

Denominations in numerals are lower and on right side, in words on right side (vertically).

Revers:

20 Mark 1993

Die JudenbucheOn foreground is a feather to write as work instrument of Annette von Droste-Hülshoff.

On background is a beech. It is depicted in association with the famous novel of Droste-Hülshoff - "The jew's beech" ("Die Judenbuche").

Die Judenbuche (The Jew's Beech) is a novella written by Annette von Droste-Hülshoff and first published in 1842, in newspaper "Cotta’schen Morgenblatt". The beech tree becomes a significant symbol in the story.

It has been considered as potentially one of the first murder mysteries and is indeed often viewed as a crime thriller or Gothic fiction. The book is full of implications and red herrings while there is no definitive answer as to what actually happened.

The story is based on a real-life XVIII-century report provided by Annette von Droste-Hülshoff's uncle, the agronomist and writer August von Haxthausen. The events take place in the village of B. (Dorf B.) in the Westphalian mountains, which represents Bellersen in the former Prince-Bishopric of Paderborn, today part of the town of Brakel. The plot reflects the conditions of anarchy, bigotry, and antisemitism in a microstate's society of the disintegrating Holy Roman Empire.

More to the left is a seal of German Bundesbank.

In lower right corner is an opened book.

Denominations in numerals are lower and on left side, in words on left side (vertically).

Comments:

The signatures on banknote belong to:

Johann Wilhelm GaddumJohann Wilhelm Gaddum (18 June 1930).

Hans TietmeyerHans Tietmeyer (18 August 1931).

Reinhold GerstetterDesigner - Reinhold Gerstetter.

Reinhold Gerstetter (October 18, 1945 in Leonberg in Baden-Württemberg) is a German graphic artist and designer. The most famous work in Germany is the last series of DM banknotes, which he designed, as well as the revision of the second Euro Series, the so-called "Euro-Series".

Gerstetter studied graphic design at the State Academy of Fine Arts in Stuttgart and later worked in advertising in London, Berlin and Haifa. From 1979 to 2002 he worked for the Bundesdruckerei. There he designed as a chief designer behördliches graphic design, stamps and banknotes (including for Israel, Bolivia and Peru). 1987 Gerst Etters design was chosen as the basis for the fourth and final series of banknotes of the German mark, which was from 1990 to early 2002 in circulation. A short time later, he also won the design competition of the Banco de España, which published four banknote values ​​from 1992, based on Gerst Etters designs. Although his designs submitted for the first series of banknotes of the common currency were not selected euro by the jury for the implementation, however, he was entrusted with the revision of the second series of euro banknotes that came into circulation as of May 2013.

His daughter, Avitall, is Germany's first female Jewish cantor.

Fourth Series of DM.

On March 19, 1981, the members of the Central Bank Council of the Deutsche Bundesbank decided to issue a new banknote series. She had become necessary due to technological progress, by the falsification of the old notes had become ever easier. Also a new series for the automatic payment transactions would be more appropriate. It took almost ten years, until the first two banknote values ​​were put into circulation on 1 October 1990 levels. This was around the 100- and 200-mark note. The latter denomination was introduced in this series of banknotes.

When designing the bank notes and the selection of the design elements were a lot of decisions to make. As early as the preliminary to the new series portraits were determined as the main subject. It should "be chosen brilliant portraits of personalities of German history in the fields of art, literature, music, economics, science and technology". In addition, the rear in conjunction should be about the person depicted on the front. Further, the primary colors of the note values ​​should remain unchanged and the word banknote stand on every bill in Gothic script.

People Picker.

A committee, consisting of historians Karl Otmar von Aretin, Knut Borchardt and Horst Fuhrmann, was commissioned to define the persons who should appear on the banknotes. The choice was between about 70 to 80 people. Here to "Top Artists" (z. B. Goethe, Schiller, Dürer) has been omitted. Likewise, retired people from whose expellees affiliation was unclear or a provocation in creed or political manner could mean (for example, Martin Luther, Karl Marx) or who had rendered her work mainly abroad, such as Jacques Offenbach.

When selecting the people should pay attention to balance in terms of gender, religion, national origin and work area. It should, if possible, three, but at least be represented two female characters in the series. However, the selection was very limited to female personalities. The aim was to show women who have created an independent work and not in the shade close to them were men (Charlotte von Stein, Charlotte von Kalb). However, such women were very rare until the XIX century. Therefore, the Panel chose to begin with the female figures, so not limitations on the field of activity, origin or confession had to be considered.

One of the requirements for the design was that the people viewed by the observer, the left should look towards banknote center. This meant that the provided portraits for five, ten, twenty, fifty and two hundred-Mark banknotes had to be mirrored. As with the Brothers Grimm two people should be ready to give them the largest banknote was reserved because of the large space requirement. Otherwise, men and women should alternate. The rest of the allocation of person and note value, however, was random and does not constitute a rating of persons.

Actually, Maria Sibylla Merian was earmarked for the 100- and Clara Schumann for the 500-mark note. However, only an artistically inferior etching by Johann Rudolf Schellenberg was for the portrait of Maria Sibylla Merian available, as in the original template doubts about the authenticity arose. Therefore, the Bundesbank held a design competition in order to get a high-quality master of this etching, which was the basis for the portrait on the bill later. Since the 100-DM-note should appear as one of the first, the people were replaced because of these difficulties.

Selection of the winning design.

Bundesdruckerei (represented by Rudolf Gerhardt, who had already designed the bench marks (BBK-II) for West Berlin), Ernst: For the design competition, which ran from 1 January to 30 June 1987, four graphic designers were by the Bundesbank in charge disciples, Johann Müller and Adrian Arthur Senger. According to the judgment of an expert commission consisting of historians, designers and graphic designers as well as a sociologist, corresponded to only one series to the high expectations. However, this reminded too much of the Swiss franc, so that she did not come into question. Thus, it would have been necessary actually a new design competition, which would have delayed the project by at least one year. But since Bundesdruckerei did submit two drafts, which was not accepted by the Bundesbank, was the draft by the then chief graphic designer of Bundesdruckerei, Reinhold Gerstetter, yet unseen in custody of the Bundesbank. After review by the Panel of this design was selected eventually as a basis for the new banknote series. The experts wrote: "The art expert panel is unanimously of the view that the here [...] compiled draft properties largely meet the requirements [...]. The art expert panel may recommend in this sense, the Deutsche Bundesbank, to make the present proposals for the basis of a new banknote series."

Configuration of the front sides.

The to be seen on the front towns pictures were an idea Gerst Etters. In his designs were to be seen in some cases striking modern building of the respective cities. However, the draft of the city of Frankfurt led to the decision to represent only historical buildings. The reason given was that the office towers of Deutsche Bank dominated the design and the Bundesbank should not be suspected to advertise for a private company.

In 1988, it was now necessary to select the appropriate city for each person. The design of the graphic looked for Paul Ehrlich Bad Homburg, his place of death, before. However, his work was held in Berlin and Frankfurt mostly. Frankfurt had Gerstetter however provided for Clara Schumann, who spent her final years there. After deciding on the introduction of the 5-DM-bill with the portrait of Bettina von Arnim was soon clear map to this the city of Berlin. Because each city should appear on the banknotes only once, only came for Paul Ehrlich thus Frankfurt in question. For Clara Schumann, the city of Leipzig was chosen because Leipzig was not just her birth, but because they also had their first successes there later.

Due to the events in the years 1989/1990, the decision for Leipzig proved a stroke of luck; because the banknote series was originally intended only for West Germany and West Berlin. But as the new federal states were represented with a city which also still has a special symbolic meaning: Here is the first Monday demonstrations took place that led to the dissolution of the GDR and the reunification of Germany.

Design of backs.

Reinhold Gerstetter looked for the back of the 1000-Mark certificate as the main subject is a figure from the fairy tale The Star Money before. However, the Brothers Grimm should, despite their extensive collection of fairy tales, can not be reduced to the fairy tale, as they have rendered outstanding services to the issuing of the German dictionary much about the German language. Thus, the dictionary was the main motif, and the Sterntaler "wandered" into the White Field.

Also in the design of the back was done with great attention to detail. So, even the background pattern a reference to the person who is pictured on the front. A penalty for the forgery of bank notes was no longer available in the fourth series.